The Upper Paleolithic Rock Art of Iberia

Nearly 200 rock art sites of Upper Paleolithic age are currently known on the Iberian Peninsula, in both caves and the open air. Over half are still concentrated in Cantabrian Spain and they span the period between c. 30–11 kya, but–tracking the course of human demography in this geographically circumscribed region–many of the images were probably painted or engraved during the Solutrean and, especially, Magdalenian. Dramatic discoveries and dating projects have significantly expanded the Iberian rock art record both geographically and temporally in recent years, in close coincidence with the growth of contemporaneous archeological evidence: cave art loci in Aragón and Levante attributable to the Solutrean and Magdalenian, many cave art sites and a few open-air ones in Andalucía and Extremadura that are mostly Solutrean (in line with evidence of a major Last Glacial Maximum human refugium in southern Spain), the spectacular Côa Valley open-air complex in northern Portugal (together with a growing number of other such loci and one cave) that was probably created during the Gravettian-Magdalenian periods, and a modest, but important increase in proven cave and open-air sites in the high, north-central interior of Spain that are probably Solutrean and/or Magdalenian. Despite regional variations in decorated surfaces, themes, techniques and styles, there are broad (and sometimes very specific) pan-Iberian similarities (as well as ones with the Upper Paleolithic art of southern France) that are indicative of widespread human contacts and shared systems of symbols and beliefs during the late Last Glacial. As this Ice Age world and the forms of social relationships and ideologies that helped human groups survive in it came to an end, so too did the decoration of caves, rockshelters and outcrops, although in some regions other styles of rock art would return under very different conditions of human existence.     

岩画人类的童年画卷

今年4月24日,宁夏回族自治区的"贺兰山岩画"开始正式申报世界文化遗产.在此一个月前,连云港市甚至悬赏百万破译"东方天书"--将军崖岩画,岩画中究竟隐藏着什么玄机呢?让我们跟随研究者的脚步,一起进入岩画里的神秘世界,看看这些刻在石头上的图画究竟说了些什么.     

Impact of Pollution at a Stone Age Rock Art Site in Oslo, Norway, Studied using Lead and Strontium Isotopes

Naturally occurring strontium and lead isotopes were used to study the impact of anthropogenic pollution on a c. 4500-year-old rock carving in Oslo, Norway. Strontium analyses have shown that road-salt from de-icing of a nearby road has accumulated in the soil surrounding the carving. Upon rainfall this salt is redissolved and drains over the rock carving. Analyses of the lead isotopic system have confirmed the impact of traffic from the nearby road on the rock carving site, but also indicate other sources of lead in the Oslo area and pollution in general. The rock carvings at Ekeberg are at high risk as, apart from natural weathering, they are exposed to the deposition of road salt, emissions from nearby traffic, local and long distance atmospheric pollution and meteorological inversion effects during the winter.     

成都金沙遗址的发现、发掘与意义

成都金沙遗址是继三星堆之后在成都平原上的又一重要考古发现,迄今已发掘出土了大量珍贵文物,引起了学术界的广泛关注。金沙遗址的考古发现,对揭示辉煌的古蜀文明,了解古蜀历史的兴衰更替,探讨古蜀国与中原以及其他区域的文化交流,均具有十分重要的意义。     

Sailing Rock Art Boats

Amongst the thousands of Bronze Age rock art images that are found along the paleogeographic coast lines of southern Scandinavia the most ubiquitous is the boat. A few are furnished with what look like a mast or sail. These attributes have largely been ignored or explained away as features or objects other than rig because it is widely accepted that the sail was not used in Scandinavia until the 8th century AD. But what if after all they really are depictions of rig? Might this suggest that the sail was not only known but perhaps used here over a 1,000 years earlier than previously accepted? Starting from the bases of the images and the environment in which they are found, this paper asks whether vessels of the types we believe belonged to the Scandinavian Bronze Age could have been sailed? These evaluations led to a series of sail trials in a canoe undertaken in the archipelago of the Swedish west coast in the late summer and autumn of 2005. The successful results of these trials were later transferred to the Tilia, a full-scale reconstruction of the Hjortspring boat, a vessel dated to 350 BC but believed to belong to a long-established boatbuilding tradition stretching back into the Bronze Age. This is the report of the hypothesis behind these trials as well as their planning, execution and immediate results.     

广西左江岩画的艺术特征及其价值

左江沿岸保存着许多古代壮族先民骆越人的珍贵化遗产——岩画,左江岩画有她自己的模式、风格、特征,当把这些共同的特征结合起来后,可以形成一个整体的概念。     

Rock Art and Ritual: An Archaeological Analysis of Rock Art in Arid Central Australia

Rock art researchers throughout the world have explicitly or implicitly invoked ritual as an activity associated with the production of rock art but the articulation between the structure and composition of rock art assemblages and ritual behaviour remains poorly understood. Anthropologist, Roy Rappaport (1999) argued that all ritual, whatever the content or focus, has a universal structure. We review this proposition in the context of ritual studies and propose a method aimed at assessing the potential for identifying ritual structure in rock art assemblages. We discuss an archaeological analysis undertaken on the rock art assemblages in arid Central Australia, which aimed at distinguishing such a ritual structure among engraved assemblages, likely to have a Pleistocene origin, as well as more recent painted, stencilled and drawn assemblages. This analysis, despite its limitations, provides the foundation for developing a model, which will enhance the understanding of the relationship between the production of rock art and ritual.     

Rock Art Conservation and Tourism

Rock art conservation has developed hand-in-hand with the increased pace of tourism, yet the two activities tend to remain in opposing camps. Policies and guidelines have been developed for cultural heritage and cultural tourism and there is a widely accepted range of principles in place, but a theory of sustainable rock art tourism is only in its infancy. To mature, the discipline needs research into the interaction of key elements that affect the long-term conservation of frequently visited rock paintings and engravings in their original setting, as well as consideration of social and economic factors that drive tourism and the public interest in rock art.     

The Evolution of Theory, Method and Technique in Southern African Rock Art Research

Southern African rock art research has progressed from an essentially denigrating social and political milieu, through an empiricist period, to contemporary social and historical approaches. Empiricism, once thought to be the salvation of southern African rock art research, was a theoretically and methodologically flawed enterprise. Attempts to see the art through an emic perspective facilitated by copious nineteenth- and twentieth-century San ethnography is a more useful approach. It began briefly, but was then abandoned, in the nineteenth century. Today, diverse theoretical and methodological approaches are being constructed on an ethnographic foundation. The centrality of the San in South African national identity has been recognized.

The Archaeology of Myth: Rock Art,Ritual Objects,and Mythical Landscapes of the Klamath Basin

Recent research in the Klamath Basin has shown that rock art and landscape are intimately connected, mutually informed by indigenous notions of sacred places. Modeling this landscape has been possible through an understanding of Klamath–Modoc myth. This has led some researchers to derive general interpretations of the rock art that are largely in agreement with Klamath–Modoc spiritual beliefs. I take this approach a step further and propose interpretations for specific rock art images and ritual objects, arguing that oral traditions harbor the fundamental logic that underpinned shamanic rituals that led to the creation of these paraphernalia.     

Schematic Rock Art,Rain-Making and Islam in the Ethio-Sudanese Borderlands

Two sites with schematic rock paintings in Western Ethiopia, where Islamic ceremonies connected with rain-making are performed and miraculous events are said to occur regularly, are interpreted in the light of such factors as the beliefs of local informants, the Islamic appropriation of prehistoric rituals in Northern Africa, the characteristics of similar sites linked to rain-making rituals throughout Eastern Africa and the apotropaic meaning of schematic marks in many traditional cultures. Probably painted by the ancestors of the current Koman language speakers during the Later Stone Age or shortly afterwards, the rock art contextual analysis reveals the complexity of interregional relationships and processes affecting the multi-ethnic frontier regions in pre-colonial times and shows how the local groups have recombined prehistoric and historic religions and ideologies into an original mix that bears witness to the region’s multifaceted history.     

广东五华狮雄山秦汉城址的发现与初步研究

狮雄山遗址位于五华县华城镇东南约2公里处的塔岗村,2011-2012年,广东省文物考古研究所对该遗址进行了第五次调查、勘探和试掘,发现了秦汉城址以及大量与城址相关的遗迹和遗物。此次考古工作区分出了秦代晚期和南越国时期的遗迹单位和典型器物,为岭南该时期考古学断代研究增加了新内容;狮雄山秦汉城址的发现和对城址布局、结构的认识,为秦汉城址类型的研究提供了新材料;封泥的发现为解读城址的年代与性质提供了新证据;为探索南越国建立之前赵佗经营龙川的历史提供了新线索;亦为说明秦汉帝国的疆域和政治版图形成增加了新史料。     

Social Values and Rock Art Tourism: An Ethnographic Study of the Huashan Rock Art Area (China)

The rapid expansion of cultural tourism has led to increased numbers of visitors to rock art sites throughout the world. The rise of rock art tourism has affected not only the preservation of rock art sites, but also the social values attributed to the sites by communities in the immediate vicinity. Social values refer to the social and cultural meanings that a place of heritage holds for a particular community. This article aims to discuss the influence of tourism on the social values that uphold local communities’ emotional attachment to rock art heritage, using the Huashan rock art area in China as a case study. Zuojiang Huashan Rock Art Cultural Landscape is the first rock art heritage in China proposed to be inscribed on the UNESCO World Heritage List and officially obtained World Heritage Status in July 2016. This article argues that many of the changes generated by the endeavour towards tourism promotion by the authorities in their pursuit of World Heritage designation have contributed to the reinforcement of the social values under discussion. However, negative feelings among the communities in response to the undesired consequences of the designation campaign might have resulted in the attenuation of such values. The ultimate goal of the research is to prompt further reflection on existing rock art heritage management mechanisms both in China and worldwide.     

论岩画阐释中的多元视界

岩画意义的解释经常会出现望图生义或者恣意猜度的现象,导致学术界对岩画的解释产生了偏见。为了避免这种情况,在解读岩画的时候应当充分考虑各种可能的因素,如岩画所处的环境,岩画自身之间的关联,岩画产生地所呈现出来的地方性知识,其他学科的支持等。     

河南许昌灵井许昌人遗址考古发现与探索

本文简要介绍了河南许昌灵井许昌人遗址2005～2008年田野考古的一系列新发现,并着重对与之有关的现代人类起源、石工具面貌、末次冰期时人类对环境的选择与适应和今后研究工作的着力点等,进行了简要概述和讨论.